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Discussion in 'Tele Home Depot' started by preeb, May 16, 2019.
Very close Robert
Truss rod brass ring and nut are cut and installed
board is cleaned and edges are rounded
Fret tops marked
I like all my boards to feel "old" and broken in so in addition to the rounded edges I want the surface to be oxidized and have enlarged pores.
Iron solution will help achieve that and will also give the wood a deeper and darker appearance
Once dry I use carnauba wax and let the old dry wood absorbe it. It may take a few applications
last coat is done with fine steel wool
and I take the shine down a little with the steel wool again
Time to add the golden script to the headstock
1:1 headstock is printed
Proto temp screen is used for now until everything is finilized.. here it is set over the print and the outline is marked in a few locations
Stopers are glued to hold the screen in place over the headstock
and the gold paint applied
Tuner ferrules can be inserted now..
Looking good, so next step is to glue the screen over a smaller production aluminum frame similar to this Bone screen
Open back tuners are aligned and the drilling holes marked
and I remember to use slightly shorter mounting screws to fit the thinner Lyra headstock...
I press punch my PAF covers out of German Silver and they don't look great raw...
Here on the bottom are the raw covers and above are Nickel plated Bone covers (sharper holes cutter but otherwise identical)
But.... I find the earliest 57 PAF's to be unique and better sounding (TMHO!!) than any other period. A big part of this is the fact they came with polished non covered German Silver covers. Nickel is magnetic and German Silver isn't and when Nickel is introduced between the PU and the strings the magnetic flux changes. Without the Nickel the raw covers will sound clearer and more focused and still do their job to protect and isolate/shield the PU. There are still other issues such as eddy currents that behave completely differently with Nickel plated covers.. but to make this short, I prefer non plated covers for the Lyra's PAF pickups.
To make them look right they need to be buffed. I will use a medium metal compound since I want the look of the 57 PAF's that were not mirror shining but still shiny in a "vintage" way (-;
Here is the comparison again to the Bone-59 Nickel plated covers. The Lyra cover is on the right
PU's will be explained in detail later when I will also do the circuit...
Liron, my second daughter has joined the family business and will be making some of the pickups including the Lyra if/when it goes into production.
Here she studies the new PU design
You put a lot of thought into this and it shows in an excellent (almost) finished product. Well, finished but not completed I guess I'll call it
This cutter is used to clean and set the depth for the 3 position switch which is identical to a Bone-59 (or a 59 burst if you like)
and the selector switch is installed with a beauty nickel washer
Since the wires run in an open channel I tie them down with a wire to hold then in place and prevent from rattling against the top
Pickups mounted with Black polycarbonate rings. I opted for polycarbonate over CAB because I want a better and clear transfer of the top vibrations to the PU's (CAB is softer and muffles the vibrations).
The top's vibrations, when transferred properly to the PU's, will vibrate the PU with some latency compared to the string vibrations changing and enriching the PU output tonality.
I set the ABR-1 temporarily to properly align the PU's under the strings
Very, very nice. I'm so glad you didn't do the traditional f-hole. They look so stupid imo on anything smaller than a Sheraton.
The ABR-1 bridge is the vintage type. I install the bass side of it directly to the top but use a shorter post to not pass through the top
mounting hole drilled
and the bass side post is screwed in with a thumb-wheel pressed against the top to act as a base
The treble side post (or leg) will be sitting freely on the top covering the sound post adjustment hole. If needed the bridge can pivot around the bass side post and expose the sound post adjustment..
Additional set of thumb-wheels is added and will be used normally to adjust the string action.
Here is the sound post adjuster showing as the bridge is turned back
I'm waiting for the Lyra pots that were specially ordered to fit the new PU's circuit. They should arrive tomorrow according to the tracking...
for now the back circuit cavity is on hold
But I did cut the back covers for a super tight fit (-;
Here's the maple Lyra minus the controls and strap locks...
Speaking of controls... there are a few options and your input is appreciated.
Note that there will be "fingernail cleaner" pointers under the knobs which are not shown in the photos...
Option 1 - Nickel plated aluminum knobs
Option 2 - Celluloid Gold Bonnet knobs
Option 3 - Celluloid Black Bonnet knobs
Here's the golds with amber switch tip
and the blacks with black tip
I have Nickel switch tips but can't find them right now.. (-;
... and there will be no pickguard for the Lyra
Love the positioning of the "F-Hole" knob Gil..........just wonderful work!
I vote for the Aluminium first and the blacks second. The gold ones get lost in the colour of the body and don’t stand out.
Can't plug it in yet but the acoustic tone is overwhelming. This video is frontal and picking up the projection out of the sound holes, but you can also hear how the solid core is giving focused and strong lows and mids. Acoustic tone exceeds my expectations and I can't wait to plug it in..
sounds really amazing
as for the knobs, I'd go with the black ones. There is already enough nickel on board, using the nickel knobs would take it over the edge and distract from the beauty of the guitar.
just my 2 Cents ...
I am going to be awkward I like the subtlety of the amber knobs and because of that black gets my second vote. I dont really like the look of aluminium on a natural finish.
Wanted to keep the standard knob locations.
I know how it feels when reaching your fingers to something that isn't quite there.. (-;
Thanks. I agree. There is always a battle between tradition and innovation... With guitars tradition is strong and I'm a very traditional guy that lets loose as I progress (-;
Weight is under 6 lbs !